著者

浦 和男

出版者

関西大学国文学会

雑誌

國文學 (ISSN:03898628)

巻号頁・発行日

vol.101, pp.303-318, 2017-03-01

著者

森本幾子 千葉太朗編

出版者

関西大学なにわ・大阪文化遺産学研究センター

巻号頁・発行日

2008

著者

岸場 利之

出版者

公益財団法人 日本醸造協会

雑誌

日本釀造協會雜誌 (ISSN:0369416X)

巻号頁・発行日

vol.65, no.12, pp.1033-1034, 1970

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チェーンストアは多店舗展開によって企業全体のスケール・メリットを追究するのが経営の本質であるが, 一般小売店との関係上なかなか免許がもらえない。免許の大幅緩和が遂行された暁には, チェーンストアは酒の流通だけでなく商品形態, 販売方法までも革新することであろう。

著者

蜷川 順子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.41, pp.3-22, 2008-04-01

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A View of Delft preserved at the Mauritshuis in The Hague is well known as a rare cityscape by Johannes Vermeer (1632-1675), who otherwise depicted mostly interior everyday life. Kenneth Clark, the English art historian who published the Landscape into Art in 1949, described it as "like a postcard" to underline its property as the truth of the total view, commenting that no particular part would catch beholders' eyes. On the other hand, Marcel Proust, the French novelist who inserted a scene of Bergotte's death in front of the painting into A la Recherche du Temps Perdu (1913-27), emphasized the beauty of a particular part of yellow wall in the composition. It makes us notice that the very source of light exists out of the painting and then that the tower of the New Church of Delft is also illuminated by the light in the center of the city. As the tomb of Willem of Orange the Silence is located in the church, some scholars indicate that the connection between the city and the house of Orange is herewith intentionally underlined. Therefore, we may infer that there is a twofold aspect of the modern for the Europeans: the uniform or scientific view and the particularized or intentional view on the surroundings. The author is to compare the modern imagery with the medieval one in order to make the former clearer. Concerning the uniform or scientific view, the history of the cityscape of Jerusalem is most worth noticing. Jerusalem became the prototype of European or Christian cities since the publication of De Civitate Dei by Augustine in the 5th century. It gave an ideal imagery of city, which should be constructed from artificial matters by the efforts of devotional people. It contrasts to that of nature, including the nature in the human being, which had only negative meaning for the early medieval Christians. The images of medieval city were filled with buildings, or churches, within the city wall, while surrounding nature of the city had gotten to be depicted or appropriated little by little in diverse images towards the era of Renaissance. The landscape, the original meaning of which is considered to be the issue of property, was depicted as scenery of nature where people were laboring, enjoying, observing etc., viewed from the city or the owner’s house. The cityscape of Jerusalem was changed in the fifteenth century from the older type to the new one, which became surrounded by nature or filled with greens. When both the city and the nature of surroundings were viewed with the same appropriation, people obtained the germ of the linier perspective, the system of scientific view, namely the uniform view over the world. The linier perspective, on the other hand, proscribed the position of a viewer, which could in its turn related to the particularized or intentional view on the surroundings. In the sixteenth century, for example, when God was far less visualized in the way with similitude, the bird's-eye perspective found among the so-called world landscape seems to indicate the very place of the invisible God. It was also the age of discovery for the Europeans and both the geography and the topography were rapidly developed with map- and landscape-making relating each other. In the seventeenth century, lots of landscapes of non-European regions were made on the model of drawings made by VOC people etc., reflecting diverse intentions of image makers. These images aroused the concerns of beholders toward the depicted imagery of foreign places.

著者

蜷川 順子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.41, pp.3-22, 2008-04

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A View of Delft preserved at the Mauritshuis in The Hague is well known as a rare cityscape by Johannes Vermeer (1632-1675), who otherwise depicted mostly interior everyday life. Kenneth Clark, the English art historian who published the Landscape into Art in 1949, described it as "like a postcard" to underline its property as the truth of the total view, commenting that no particular part would catch beholders' eyes. On the other hand, Marcel Proust, the French novelist who inserted a scene of Bergotte's death in front of the painting into A la Recherche du Temps Perdu (1913-27), emphasized the beauty of a particular part of yellow wall in the composition. It makes us notice that the very source of light exists out of the painting and then that the tower of the New Church of Delft is also illuminated by the light in the center of the city. As the tomb of Willem of Orange the Silence is located in the church, some scholars indicate that the connection between the city and the house of Orange is herewith intentionally underlined. Therefore, we may infer that there is a twofold aspect of the modern for the Europeans: the uniform or scientific view and the particularized or intentional view on the surroundings. The author is to compare the modern imagery with the medieval one in order to make the former clearer. Concerning the uniform or scientific view, the history of the cityscape of Jerusalem is most worth noticing. Jerusalem became the prototype of European or Christian cities since the publication of De Civitate Dei by Augustine in the 5th century. It gave an ideal imagery of city, which should be constructed from artificial matters by the efforts of devotional people. It contrasts to that of nature, including the nature in the human being, which had only negative meaning for the early medieval Christians. The images of medieval city were filled with buildings, or churches, within the city wall, while surrounding nature of the city had gotten to be depicted or appropriated little by little in diverse images towards the era of Renaissance. The landscape, the original meaning of which is considered to be the issue of property, was depicted as scenery of nature where people were laboring, enjoying, observing etc., viewed from the city or the owner's house. The cityscape of Jerusalem was changed in the fifteenth century from the older type to the new one, which became surrounded by nature or filled with greens. When both the city and the nature of surroundings were viewed with the same appropriation, people obtained the germ of the linier perspective, the system of scientific view, namely the uniform view over the world. The linier perspective, on the other hand, proscribed the position of a viewer, which could in its turn related to the particularized or intentional view on the surroundings. In the sixteenth century, for example, when God was far less visualized in the way with similitude, the bird's-eye perspective found among the so-called world landscape seems to indicate the very place of the invisible God. It was also the age of discovery for the Europeans and both the geography and the topography were rapidly developed with map- and landscape-making relating each other. In the seventeenth century, lots of landscapes of non-European regions were made on the model of drawings made by VOC people etc., reflecting diverse intentions of image makers. These images aroused the concerns of beholders toward the depicted imagery of foreign places.

著者

羽藤 雅彦

出版者

關西大學商學會

雑誌

關西大學商學論集 = The business review of Kansai University (ISSN:04513401)

巻号頁・発行日

vol.58, no.2, pp.103-123, 2013-09

著者

羽藤 雅彦

出版者

關西大學商學會

雑誌

關西大學商學論集 (ISSN:04513401)

巻号頁・発行日

vol.58, no.2, pp.103-128, 2013-09-25

著者

関屋 俊彦

出版者

関西大学国文学会

雑誌

國文學 (ISSN:03898628)

巻号頁・発行日

vol.92, pp.117-129, 2008-03-01

著者

関屋 俊彦

出版者

関西大学国文学会

雑誌

国文学 (ISSN:03898628)

巻号頁・発行日

no.92, pp.117-129, 2008-03

著者

內田 慶市

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

no.5, pp.191-198, 2012-02

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The influence of Jean Basset's translation of the Bible into Chinese on RobertMorrison's translation of the Bible into Chinese is well known. There are four groups of manuscripts for Basset's translation. This research will present an initial consideration of the formation process of these manuscripts, after which the connection with the Morrison translation shall be explored.

著者

內田 慶市

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 = Journal of East Asian Cultural Interaction Studies (ISSN:18827748)

巻号頁・発行日

vol.5, pp.191-198, 2012-02-01

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The influence of Jean Basset's translation of the Bible into Chinese on RobertMorrison's translation of the Bible into Chinese is well known. There are four groups of manuscripts for Basset's translation. This research will present an initial consideration of the formation process of these manuscripts, after which the connection with the Morrison translation shall be explored.

著者

村上 潤 小川 鑛一 安田 寿彦

出版者

Japan Ergonomics Society

雑誌

人間工学 (ISSN:05494974)

巻号頁・発行日

vol.50, pp.S216-S217, 2014

著者

楢原植物化石層研究グループ

出版者

一般社団法人 日本地質学会

雑誌

地質学雑誌 (ISSN:00167630)

巻号頁・発行日

vol.73, no.9, pp.441-442, 1967-09-25 (Released:2008-04-11)

被引用文献数

2 2

著者

高橋 望

出版者

關西大學商學會

雑誌

關西大學商學論集 (ISSN:04513401)

巻号頁・発行日

vol.48, no.3-4, pp.455-476, 2003-10-25

著者

高橋 望

出版者

關西大學商學會

雑誌

關西大學商學論集 = The business review of Kansai University (ISSN:04513401)

巻号頁・発行日

vol.48, no.3, pp.455-476, 2003-10

著者

笹川 慶子

出版者

早稲田大学映画学研究会

雑誌

映画学 (ISSN:09154558)

巻号頁・発行日

vol.13, pp.59-74, 1999

著者

笹川 慶子

出版者

早稲田大学映画学研究会

雑誌

映画学 = Film studies (ISSN:09154558)

巻号頁・発行日

no.13, pp.59-74, 1999

著者

近江 晴子

出版者

関西大学なにわ・大阪文化遺産学研究センター

雑誌

NOCHS Occasional paper

巻号頁・発行日

no.1, pp.14-25, 2005-12-31

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第1回NOCHSレクチャーシリーズ「なにわ・大阪の神社」(関西大学尚文館502教室、2005年9月24日)補助事業 文部科学省私立大学学術研究高度化推進事業オープン・リサーチ・センター整備事業(平成17年度~平成21年度)なにわ・大阪文化遺産の総合人文学的研究

著者

近江 晴子

出版者

関西大学なにわ・大阪文化遺産学研究センター

雑誌

NOCHS Occasional paper

巻号頁・発行日

vol.1, pp.14-25, 2005-12-31

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第1回NOCHSレクチャーシリーズ「なにわ・大阪の神社」(関西大学尚文館502教室、2005年9月24日)

著者

石田 智子

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

no.5, pp.407-423, 2012-02

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This thrust of this essay is to consider the changes and the relationship of the various influences in Hōgai's works through a comparison of two works, Kannon with Hibo Kannon, and an analysis of Niōsokki. From an analysis of these works, the newness of Hōgai's later works can be seen in his technical use of ink painting and colour painting. Two other examples unrelated to motif are the uniformity of his brushstrokes and an expressive "smearing". Hōgai's late works reflect a wide range of elements: designs inherited from the early Edo period, the influence of techniques that appeared at the end of the Edo period and early Meiji period, techniques from Western painting, and Fenollosa's theories. The relationship between Hōgai and Fenellosa cannot be reduced to the simplistic statement that "Japanese culture had changed after the acceptance of Western culture". It should, I suggest, be seen as a mutual exchange. Hōgai's late works can only be understood as the product of a cultural exchange of multiple periods, places and people